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Whenever dark clouds crowd in on thoughts and emotions there is always a place for an understanding soundtrack, something Cyprus-based atmospheric black metallers Stormcast offer with their impressive debut album, Frame of Mind. The release is a tempest of oppressive intenisty and emotionally ravenous shadows but brought on an epic wave of melodic and atmospheric invention. An increasingly compelling fusion of black and symphonic metal with additional flames of melodic death and gothic expression, the release is a startling and intensive introduction to the Nicosia quintet.

Formed in 2007, Stormcast take their lyrical and atmospheric inspirations from the personal struggles of man and society’s ills. A couple of promos in 2009 and 2012 respectively, opened up a certain amount of attention but it is with the Pitch Black Records Frame of Mind that it is easy to suspect Stormcast will stepping into the widest gaze. The band’s live presence which has seen them play the likes of the MetalDays Festival and share stages with bands such as Rotting Christ, Sabaton, Stratovarius, and Nightstalker, sparked real anticipation for Stormcast’s debut full-length and from being a relative secret expect the band’s name, because of the new release, to be on the broadest expanse of lips as it infests ears and psyche.

The Executioner opens up the physical and mental examination, emerging from a spatial ambience with vocal drones, scything drama clad riffs, and orchestral grandeur. It is a portentous dawning soon realised by the crushing heavy booted feet of rhythms and a ravenous sonic enterprise from the guitars and keys. The song soon settles in to a smaller and more intensive pressure of hungry riffs and combative beats, both carrying the vocal animus of Mike Angastiniotis. His voice is a venomous squall, clinging to ears with every rasping syllable whilst around him the song ebbs and flows with intimate hostility and expansive melodic temptation. It is an instant attention grabber of a track, an inescapable provocateur with nostrils flared and creative wiles in full flow. The golden blaze of horns which lord over the song’s finale make a striking contrast to the pestilential vocals and savage riffery, a moment and conflicting union which in many ways really epitomises the whole of the album.

The potent start is swiftly matched by the dark depths and majesty of Wishful Bliss, its opening elegance soon a predatory stalking of the senses but still wearing a mesmeric cloak of keys from Mark McDonald and sonic intrigue from the guitar of George Masouras backed by that of Angastiniotis as his vocals spill further malevolence into the mix. Elements of the track, as across the album, bring thoughts of bands like Dark Tranquillity and The Pete Flesh Deathtrip but only as spice to something distinct to Stormcast, something again shown by New World Order. The track backs up the might of the first two songs with consummate and uncompromising ease. Keys and guitar offer an immediate inviting drama, before passing the fire to a torrent of niggling riffs and intensive swipes from drummer Andrew Laghos, both courted by a prowling and magnetic bassline from Andreas Spyrou and the return of the roaring horns. Whereas the previous track was a maelstrom of dark emotions and riveting enterprise, keys and guitars weaving radiant melodic colour across a brutal rhythmic and riff painted canvas, the third track strides a brighter terrain of still imposing incitement and intensity. Hooks and grooves light up its landscape with enthralling imagination and expressive hues, whilst the bass of Spyrou makes for a carnivorous accomplice to the raw throated narrative of Angastiniotis.

There is also a background hint of clean vocals to the song which are given greater rein in Of Flesh and Stone, an evocative track looking at soldiers at war and families left behind. From a sample of a wife talking, a captivating croon brings the song into potent view. Presumably it is again Angastiniotis singing and it has to be said he is a gripping element with his clean tones swiftly sparking a wish that the band employed this side of his skills even more across the album. He is soon spraying his regular caustic tones though, spite and rage impregnating the turbulent but beauteous tapestry of the epic encounter.

The pair of Withdrawn and In Entropy stirs up air and emotions next with their own individual designs and torment. The first is cored by another addictive bassline around which riffs and beats create a smaller but predacious confrontation, the track almost punkish in its hooks and spiteful riffing. It eventually drifts into a melodic pasture which simply bewitches even as first Angastiniotis and subsequently crippling rhythms add their dark offerings to the outstanding aggressor. Its successor is a radiant wind of sonic and melodic adventure contradicted by the bullish tenacity and contagious strength of rhythms and riffs. Light and dark in a riveting conflict for the listener to immediately immerse in, the song as its predecessor sets another plateau for the increasingly thrilling album.

An opening tangy lure from the guitar sets Immune off in fine and exciting style, that initial tempting continuing to coax ears and imagination as around it the song‘s atmosphere darkens and its climate becomes more imposing. The track never goes into the brutal rage it hints at though, keys providing a poetic elegance as the guitars flame with sonic adventure and the song with a creative revelry. Only Angastiniotis’ scarring tones resist the light, his words a great blackened toxin to the engaging landscape before final track Dysthymia takes over to bring Frame Of Mind to a satisfying close. It again reveals the depth and invention in the songwriting and sound of Stormcast, a blend of smoggy rabidity, unpredictable mouth-watering twists, and emotive melodic endeavour gripping ears and imagination for a potent finale.

It did not take Frame Of Mind long to impress but it is with further plays that its true weight of creativity and grandeur shows itself. With only a wish for a little more diversity in delivery from Angastiniotis a minor thought, Stormcast has pushed themselves towards the strongest spotlight with the album, a must investigation for all extreme melodic metal fans.

Through meeting a new friend in Kostya Aronberg of Globmetal Promotions we have been introduced to some real treats and pleasures in the shape of bands and music from around the globe. One of the biggest enjoyments came in the debut album Star Of Delusive Hopes from Israeli metal band Desert. The album was not particularly demanding or challenging but was one of the best examples of honest and irresistible impressive metal. Given the chance to find out more about the band we took no time in bombarding keyboardist Oleg Aryutkin with questions.

Hello and thank you for talking with us at The Ringmaster Review

Please introduce the band.

Hi, and thanks for the opportunity.

We are Desert, a band of six guys who just enjoy playing a decent metal song!

The music we play is a blend of good old heavy metal and something we hope is unique.

With Desert you get epic feel for the lyrics and sing-along choruses from power metal Stratovarius, Dragonforce,, but also punchy beats and riffs from heavy metal, and crapload of keyboards to give it a more theatrical vibe.

How and when did Desert begin?

Sure. Let’s see… Our lead guitarist, Max, started a band back when he was in the military service, just to play some cover tunes he enjoyed. It was Stratovarius, Dragonforce, stuff like that, fast melodic power metal. People joined, people left. Around 2004 stuff got more organized, Max played a gig or two, I’m sure you know these really obscure gigs in basements with soundmen selling pot at the entrance :)

Is there any relevance to the band name?

Heh, you be the judge of that. Back in 2004 we all used to literally live in a desert, with camels and what not. So when it came to choosing a name, the guitarist simply looked out a window and went “oh well..”

Just like that.

How has the band evolved over its decade of existence?

It sure did. First, we all learned to play our instruments a bit better. We also managed to find our voice, and not simply copy the music of famous power metal bands like we used to.

Max used to be the sole songwriter, over the years he found the way to come up with these weird riffs I didn’t hear before.

After some time I too started writing, and my approach is completely different.

You have had a few line-up changes during your time as a band too, have these had major impacts on the way your sound has grown?

hmm. we did go through few drummers and bass players. I guess every time it just sounded better and better!

A big upgrade was when we invited a second guitarist, about two years ago, right before the album release, it really gave our live sound more punch, and more aggressive direction to the songs.

I look for influences. I really try to absorb everything I hear, be it the new Behemoth CD or a dubstep track I heard on Youtube.

I guess closest to my heart is 80’s music, both metal and popular.

But in the end it all goes through a filter, so no, we’re not black metal meets A-ha :)

Star Of Delusive Hopes is your debut album released via Greek label Sleaszy Rider. How long was it in the creating?

Wow, a long time. It was a first major work, we worked the hell out of each tune.

The lyrics went through numerous revisions, the solos were practiced and thought through.

I’d say it took some 3 years to complete the writing. Then, a month of pre-productions, and three weeks in the excellent Nick Savio’s studio.

The album was recorded with Nick Savio (White Skull, Cyber Cross) who you just mentioned, and subsequently mastered by Andy LaRocque, the -nominated guitarist of King Diamond, both doing a great job with your excellent songs. How did you get them on board?

I think we found Nick on-line, and we really liked his work as a producer, so we went for it. Was a right decision, Nick really knows his stuff. And a great guy, too! Spent three weeks in his studio in Vicenza, Italy, so cool!

hm, Andy was an on-line acquaintance, too. He mixed by himself, we did not want to humiliate ourselves by suggesting stupid ideas. We just trusted him to do what he does! It’s funny how he sent us a first mp3 file, going “here guys, it’s like a pre-pre-pre-beta version, suggest something”, and we were like “yeah, don’t touch anything, it sounds golden!”

Can you tell us about the theme and stories that storyboard the songs within Star Of Delusive Hopes?

It’s kinda concept album, or maybe an idea album. All the songs share the same direction. It’s about the struggle for freedom. Most of the songs deal with and tell stories of historic personalities and events, like the title track, which is about the French revolution and the fate of Napoleon, or Victim of the Light, which is about Joan of Arc. We are really into history, and try to take our view on events and why we see them important.

Some songs are more ‘abstract’, like Whispers – it’s about an inner struggle within a person, I created the spoken intro to help understand the song. And there’s even a pirate song, Letter of Marque, which was kinda meant as light-weight, lyrics-wise, but came out pretty ‘honest’, and I’m really proud of it.

It’s not called Star of Delusive Hopes for nothing. The stories told are all with a touch of bitterness, we tell about betrayal, delusion, failure, but also hope – the whole deal. We try to describe real life, not a fairy tale.

The ideas and song inspirations are quite intense but your music also carries a surprisingly light and exuberant feel within its powerful sound. Was this a determined aspect or something that simply emerged whilst writing the album?

Hmm, never thought of this. I guess it’s just something we did, the way we write. I like a punchy riff, and a good uplifting chorus!

But we always pay attention to unity of music and lyrics, they should deliver the same message, fortify each other! There are tracks like Letter of Marque, with epic feel and a cheerful vibe, but there are also tracks like Whispers, which is darker, since its lyrics are nothing happy…

There is a sense of theatre to your music too would that be fair to say?

I’m really glad you’re mentioning it. There is, I think… Not as theatrical as some progressive or gothic bands, who create almost full-scale theatre plays, like Silentium.

We weren’t set to create a theater music project. It just came out that way. I realized that our songs have a lot of this after Whispers was written. It actually has spoken parts, monologues of sorts, and these weird sound effects that I created, to increase the sense of madness going on.

One track one the album which also became a single was Lament for Soldier’s Glory, It also featured a guest performance from Joakim Broden of Sabaton. How did that come about?

We met Joakim back in 2008 I think when we opened for Sabaton in Tel-Aviv, Israel. Joakim and the guys turned out to be a great bunch, full of life and super-friendly. So we chatted, drank some beers, but no business talk at all.

Some months later, we were working on the album, and this particular song demanded a male duet, at least in my head. So we started thinking who’d be right for the part. The song being about the WWII, Joakim’s name came out first. I was like, ‘yeah, right’. This guy never collaborated with anyone before, and actually refused some serious offers. But we gave it a shot, asked him. And he agreed to take part!

The track came out just perfect in my opinion. Joakim’s vocals fit the tune like a glove, it’s like we wrote it for him. Perfect.

Since then we’ve met quite a lot, Joakim flew in for our album release party, and later performed with us live in Israel, Sweden, and Cyprus. I hope its right to say we’re good friends now.

Desert is renowned for its live shows with you having shared stages with the likes of like Sabaton, Draconian, Nightmare, and Tim “Ripper” Owens. Live shows are a very important aspect of the band for you?

Heh, you forgot Helloween and Stratovarius :) I loved these particular shows! Oh, and Van Canto, they kill!

But let’s get back to us, he-he.

The most important. Desert is all about live shows. We put a lot of effort into rehearsing, thinking through the set, preparing all kinds of interactive experiences with the audience.

And we sure go crazy on stage. We run and we jump, and scream, like there’s no tomorrow!

The moment when I finally got my hands on a keytar (google it!) was a game changing one for me. Finally I can jump off the amp stacks, run into the audience, climb the lights, whatever, while still playing! I just LOVE playing live shows.

Do you see live performances and shows have in a time where people do not seem to be buying music now as more important than making recordings?

As I said, I value live music a lot, and try to attend as many live shows as possible.

But making records is still necessary, you gotta document your creations, and people enjoy the live performance more if they already heard the song, and read the lyrics.

How do you find things as a metal band in Israel, is there a strong scene for you and others there?

It’s tough, like everywhere else.

In Israel metal is not mainstream, it’s in the underground. But the scene, while not that big, is really strong in the sense of connection between people – bands, fans, writers, photographers, journalists. People are warm, and there are some great bands, too!

We have plenty of shows here, and many bands from all over the world come visit, and they are always amazed by how people here make them welcome!

How effectively has the internet taken you beyond your homeland borders into the wider world?

We have great friends all over the world we wouldn’t have a chance to meet if not for the web.

We have great friends and fans in countries like Poland, Bulgaria, Italy, Mexico, Canada – people write us and buy records.

So yeah, internet is super. Still, there’s no substitute for a good live show! Hold on, we’ll get to play everywhere eventually, and meet all these great people in person!

What has the rest of 2012 got in store for you or rather you for it?

hhh, I like the play of words. Well, we kinda took few months off to finish the next album, that’s what we’re after now – releasing a great album. I hope it’ll be ready by the end of the year.

Still playing some live shows, because its great fun and we don’t wanna get rusty!

Do you set yourselves any targets or aims during a year or just let things evolve?

We do set goals. Otherwise things just don’t move. When recording or rehearsing there’s a real schedule, a plan. We take music-making real serious.

Writing, on the other hand, is out of control. We can’t say, ‘ok, we’ll write two songs by next Friday’. Doesn’t work like that, unfortunately.

Again thank you for talking with us.

Would you like to leave with any last words for your fans old and new?

Thanks for the chance to chat about the band!

We are Desert, we love what we do, we believe in what we do, and we’ll make your head go Bang!

Stay true, stay metal, and go see a good live band next chance you get!

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The RingMaster

Music writer/reviewer and band/release promo/bio writer.
Artists previously worked with include:
Centre Excuse, Evanstar, Kerry Kelley, Damsel Down, Spaceship Days, Jacksons Warehouse, Sheena Bratt and more...
For reviews of your releases or specific required written work get in contact @ ringmasterreview@live.co.uk
Presenter of The Bone Orchard from Audioburger promoting the best underground metal through to rock bands and sounds around. Again for details get in touch.
Dark poet at The Carnivale of Dark Words and Shadows http://carnivaleofdarkwordsandshadows.webs.com